"Hic iacet Johesi Elmebrygge, armiger, qui obiit biij die ffebruarij; Aº Dni Mºccccºlxxij, et Isabella uxor eius quae fuit filia Nichi Jamys quonda Maioris et Alderman London: quae obiit bijº die Septembris Aº Dni Mºccccºlxxijº et Annae uxor ei: quae fuit filia Johes Prophete Gentilman quae obiit ... Aº Dni Mºcccº ... quoru animabus ppicietur Deus." The date of the second wife's death has never been inserted, showing that the brass was engraved and set during her lifetime, as in so many other examples of monumental brasses throughout the country. The figure of John Elmebrygge is wanting, it having been at some time torn from its matrix, but above his figure's indent remains a label inscribed _Sancta Trinitas_, and from the mouths of the remaining figures issue labels inscribed _Unus Deus--Miserere nobis_. Beneath is a group of seven daughters; the group of four sons is long since lost. A transitional Norman font of grey Sussex marble remains at the western end of the church, and on an altar-tomb in the southern chapel are the poor remains of an ancient stone figure of the fifteenth century, presumably the effigy of a merchant civilian, as he is represented wearing the _gypcière_. It is hacked out of almost all significance at the hands of some iconoclasts; their chisel-marks are even now distinct and bear witness against the Puritan rage that defaced and buried it face downwards, the reverse side of the stone forming part of the chapel pavement until 1861, when it was discovered during the restoration of the church. Before that restoration this was an interior of Georgian high pews. Among them the "squire's parlour" was pre-eminent, with its fireplace, its well-carpeted floor, its chairs and tables: a snuggery wherein that good man snored unobserved, or partook critically of his snuff during the parson's discreet discourse. But now the parlour is gone, and the squire must slumber, if he can, with the other sinners. [Sidenote: GATTON]